Journal: Autumn_2020

Abstract This paper explores the environment in which the first printed works were created in Aotearoa/New Zealand. During the industrial revolution in Britain, the Empire was engaged in a global race of expansion against European counterparts. On their arrival in Aotearoa/New Zealand in the early part of the 1800s, some missionaries sought to learn the […]

Abstract This research project aims to extend the scope of fine art printing on glass using innovative photoluminescent enamels. This paper demonstrates how these newly created materials, developed by a multidisciplinary team of artists and chemists, can be used as ink to print on glass, both with direct methods and through transfer papers (decals). The […]

Anne Heyvaert in conversation with Sylvie Karier, around her exhibition “I’ll be back” at Fyns Grafiske Værksted, Denmark. 7/02 – 3/03/2020 ‘We must always seek the desire for the line, the point where it wants to enter or die’Henri Matisse according to the notes of Sarah Stein, 1908 ‘New artists must rediscover the point of […]

Abstract This article aims to examine and respond to the challenge of retaining the vivacity of gestural drawing when translating into the language and techniques of silkscreen printmaking. The interdependent relationships and transitions between the selected media, methodology and the underlying philosophical, phenomenological and lived experience of the practice are discussed. The techniques and materials […]

A historical review on drawing for soft-ground and the case for the outcome process in contemporary art ABSTRACT Drawing-like prints with soft-ground etching strictly depend on using paper to decal on top of a special tacky ground. In the traditional manner, the resulting sheet will host both a drawing and a transfer on opposite sides […]

Introduction Colour arises most prominently in the world from subtractive processes. For instance, if a material is dyed with a pigment, when a light is shone upon it, the pigment absorbs portions of the electromagnetic spectrum that the base material does not. This translates directly into a colour, that is, our eye’s interpretation of one […]

Abstract I Can Still Hear You is a series of etchings on copper made during 2018/19 by Michelle Keegan, Senior Lecturer in Printmaking at the University of Northampton. Her creative process is centred on the Sound Mirrors located in Denge on Romney Marsh in Kent. These are giant concrete structures hidden in a desolate and […]

Abstract Shefali Wardell writes about a project called Spaghetti Intaglio: a week-long exhibition of domestic and DIY fine-art prints made without professional studio equipment, shown in December 2019. The UK-wide call-out resulted in submissions ranging from pasta machine photopolymer to hand-pressed prints made from mud, and abstract images formed with imprinted fly excrement. Background Four […]